Les Miserables - Let the People Sing

Attending LAOS’s last production at the Grand Theatre last April, I was seated next to the then Chairman, Mike Porter. The show, ‘Legally Blond’ was a stunning production – I turned to Mike at the end and said ’Wow!  So, Mike, follow that’ – he gave me a slow grin and told me that something big was going to be announced within weeks. I racked my brain wondering what the surprise would be – when the word finally came out, I was so pleased for LAOS – just the right society to mount this project. To mark the 40th anniversary of ‘Les Miserables’, the Cameron Mackintosh organization, in collaboration with Music Theatre International, had decided to allow eleven amateur societies all over the UK to perform this iconic musical. This had previously only been allowed to be performed by youth groups. LAOS was to be the lead society, but also to engage with three other societies in West Yorkshire – Buttershaw St Paul’s AODS, LIDOS and Wakefield West Riding Theatre Company.

If you have ever read, or attempted to read, Les Miserables, you will understand the mammoth task of adapting the story of post-revolutionary France, with its themes of love and the unfailing human spirit. Many plays and film adaptations have been made, but in 1980, the French composer, Claude-Michel Schonberg and lyricist, Alain Boublil, decided to produce a concept album, which in turn, led to a Parisian stage production. That was as far as it went, until it was spotted by Cameron Mackintosh, who, in collaboration with Trevor Nunn and the Royal Shakespeare Company, decided to rework it for English audiences. Herbert Kretzmer was brought in to translate and the show made its debut at the Barbican theatre. The critics panned its first night, saying – ‘The Glums’, too sad, too dark, too sentimental…… etc. However, audiences thought differently – the powerful tale, music and emotional songs went from strength to strength. The show moved to the Palace Theatre in the West End, where I first saw it – I was moved to tears by the sheer grandeur of the staging and although I have seen it so many times since, I still find it one of the most exciting musicals of all time. With powerful songs such as, I Dreamed a Dream, Master of the House, Do You Hear the People Sing, and One Day More – how could it fail?

And so, we move on to this special production, (which I saw twice to see both principal casts). I am going to run out of superlatives very quickly – First of all – WOW!!  From the opening chords of music, I was transfixed – goose bumps all over, this was indeed an incredible piece of theatre. Everything about the production showed that a lot of money had been spent to make this one of the most lavish shows amateur theatre has ever seen. I must first applaud Louise Denison, Director and Choreographer, for a spectacular production both in staging and movement – she has such a depth of musical theatre knowledge, there wasn’t one thing that I could be able to be negative about. Jim Lunt, as Musical Director must also be congratulated on his brilliance in the pit – a talented orchestra kept up his high standards – not one wrong note, fabulous.

As to the principals – there were two casts, sharing 12 performances, equally of an exceptionally high standard – all vocally strong, I heard every sung note perfectly – when I read their programme credits, they had all had professional training and it showed – measured performances from them all – absolutely faultless all the way through. The story follows Jean Valjean, imprisoned for 19 years for stealing a loaf of bread, (Robert Durkin and Nick Walton) – he is released on parole by the prison officer, Javert, (Dan Smith and Luke Wilby), starving and embittered, he is given shelter by Bishop Myriel, (Richard Pascoe) – Valjean steals the silver from the church, is caught by the authorities, but the Bishop denies the theft and so Valjean is released. The years go by and Valjean is now Mayor of a French town and has a factory with many employees – there is trouble in the work place when Fantine, (Kirsty Townend and Emily Huddleston) is accused of having an illegitimate daughter. She is thrown out by the foreman with Valjean’s acceptance. Fantine is now destitute, her child in the care of the ghastly Thenardiers, (Helen Spencer and Susan Wilcock, Jason Weightman and Rich Billings) in their countryside inn. Fantine sinks into prostitution and is arrested by Javert, who is now Chief of Police for the town. Valjean intervenes and upon realising he had Fantine dismissed wrongly, insists that she be released and taken into hospital. Fantine dies and Javert realises the man he thought of as Mayor, is actually the prisoner who broke his parole. Valjean talks his way out of re-arrest and goes to find little Cosette, Fantine’s daughter, (Renee Revell and Anouk Uttley) horribly mistreated by the Thenardiers. At this point, there is some light relief in the number, ‘Master of the House’ – cleverly interpreted by the writers and the director’s vision. The Thenardiers have a daughter on whom they lavish love and care, Young Eponine, (Mia McGarry and Eliza Hunter), ignoring poor Cosette. Valjean finds Cosette in the woods fetching water, he pays off the Thenardiers and brings up Cosette as his own daughter.

The years pass and Paris is once again on the brink of revolution – idealistic students vow to revolt over corruption and the poverty that is all around. Led by Enjolras, (James Pegg and Chris Mooney) they decide to form a barricade against the ruling forces – another stand-out number ‘Red and Black’. One of the revolutionaries is Marius, (Harvey Dewhurst and Malachy Bray) – a chance meeting with the now grown-up Cosette, (Emma Burke and Maddie Care) leads to romance – but the rising tensions in the streets forces them apart. Marius asks his friend, now a grown-up Eponine, (Caitlin Magee and Leah Spence) to find Cosette for him. Valjean realises that anarchy is rife and decides to join the students in their fight. Meanwhile, Javert has tried to infiltrate the revolutionaries, but is uncovered by young Gavroche, (Theo Rae and Charlie Leonard) a street-wise youngster. Eponine has found Cosette but Eponine is killed on the barricade, leaving Marius bereft.

During the ensuing battle, Valjean has the opportunity to kill Javert, but releases him. Marius is wounded, Valjean realises he is Cosette’s beloved and drags him to safety. Javert cannot live with the fact that Valjean saved his life and throws himself into the Seine, visually brilliant. Marius recovers, he and Cosette marry but Valjean has gone away because he doesn’t want Marius or Cosette to know he was a criminal – The Thenardiers attend the wedding and tell Marius that Valjean saved his life – he throws them out after they demand money. Marius and Cosette rush to Valjean in hiding – but he is very ill – they say their goodbyes and Valjean passes away, guided to heaven by Fantine and Eponine.

Forgive the very potted version of the story – it is hard to precis!

The principal cast was supported by an extremely talented and experienced ensemble – all principals in their own right, I was blown away by their performances. They were so well rehearsed and produced strong, real characters; very well done.

Off stage, an equally talented choir of mixed voices supported the ensemble and principals on stage – I was so pleased to see them enter the stalls to sing the final chorus and then take a bow on stage – how lovely!

And finally, but most importantly, the backstage crew and technical creatives, without whom, none of this would have been possible, under the direction of Ian Thomson, Stage Manager and Deputy Stage Manager, Louise Norbury-Hall. Here was a most professional team which included the lighting design, sound design and video graphic design – all of the highest standards. Together with costumes, wigs, makeup, props and a very hard-working backstage crew, there was a lot of hard work put in here, truly memorable.

I would just like to say that this production was professional from beginning to end – the societies involved must all be proud of their input – here are people who work, have families and still find time to live the dream of theatre for their audiences to savour – long may that dream continue.

This was my final review as a NODA NE Regional Representative and what a high to go out on! It has been an amazing 13 years…..

They ‘Let the People Sing’ and they did it magnificently!

My sincere congratulations to you all…….

 

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